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Bouncing With Bill. Chick Corea's recent tribute to Be Bop pioneer Bud Powell, Remembering Bud Powell (Concord/Stretch 9012-2) was a welcome tribute to the Charlie Parker/Dizzy Gillespie of the piano. Bud Powell, while constantly being critically acknowledged, has had relatively few program recordings of his music by other musicians. Joining Corea in recognizing Powell is the East Coast-West Coast pianist Bill Cunliffe.
Standard and Nonstandard Fare. The Cunliffe and Corea recordings share several Powell originals. Both boast "Tempus Fugit," "Glass Enclosure," and "Dusk in Saudi." "Willow Grove" is also represented on both discs. Each pianist includes a personal composition. But, where Corea confines himself to all original compositions; Cunliffe chooses to explore both rarer Powell compositions and jazz standards closely associated with Powell. "Coming Up" and "Sure Thing" are rarely heard Powell vehicles that are brought out for closer inspection by Cunliffe. "Tempus Fugit" and "Hallucinations" along with "Un Poco Loco" are capably interpreted, often with the original Powell arrangements.
Ralph Moore and More. Tenor Saxophonist Ralph Moore proves he is empathetic with both Powell and Cunliffe. His muscular support and solos on "Polka Dots and Moonbeams" and "52nd Street Theme" make this already excellent disc a gem. Dave Carpenter provides a solid bottom upon which Cunliffe rocks and croons; while Joe La Barbera and Papo Rodriguez provide the rhythmic direction. The music herein is personally played by musicians of great substance. The modest Naxos price should make this fine recording a must have.
Naxos Jazz. This recording is among the third wave of Naxos Jazz releases, all of which have been review within these electric pages by this critic. I have found that all of these recordings have been of a very high quality. All, for the most part, have been recorded live direct to two track digital, preserving that special spontaneity that is jazz. Naxos Jazz has also provided a wide variety of styles and performances, all executed superbly. The other recent Naxos Jazz recordings include Donny McCaslin's Exile and Discovery (Naxos Jazz 86014-2), Clifford Adams' The Master Power (Naxos Jazz 86015-2), the Mike Nock Quintet's Ozboppin' (Naxos Jazz 86019-2), Flipside's Flipside (Naxos Jazz 86013-2), and Larry Karush's Art of the Improviser (Naxos Jazz 86011-2).
Track Listing: Melancholia, Un Poco Loco, Polka Dots and Moonbeams, Comin' Up, Hallucinations,
Tempus Fugit, Sure thing, 52nd Street Theme, Borderick, Dusk at Saudi,
Willowgrove, Glass Enclosure.
Personnel: Bill Cunliffe: Piano, Ralph Moore: Tenor Saxophone, Dave Carpenter: Acoustic
Bass, Joe La Barbera: Drums, Papo Rodriguez: Percussion
I love jazz because when I was a kid pop music was bland, plain, uneventful until one day I heard a tune on a juke box entitled Jump Red Jump By Tenor Saxophonist Red Prysock brother of Arthur Prysock
I love jazz because when I was a kid pop music was bland, plain, uneventful until one day I heard a tune on a juke box entitled Jump Red Jump By Tenor Saxophonist Red Prysock brother of Arthur Prysock. It was love at first sight . This was when Blues, Soul / Gospel Style Music was becoming popular amongst kids as well as hip adults and featured Ray Charles, Big Joe Turner and The Payola era DJ's such as Alan Freed. Not many people remember that Freed's Rock n Roll Band of the 1950's was The Count Basie Orchestra featuring the Guy Singer Tony Bennett (Anthony DiBenedetto) who grew up in Astoria, NYNY right next to my Home Town Jackson Heights NYNY.
I was first exposed to jazz when I heard Red Prysock, Sam The Man Taylor & groups like the Chord Cats recording of Shaboom! It made the Crew Cuts look LAME! Now Jazz, Blues, Soul, Gospel was pretty much joined at the hip back then and I learned that the tasteful Music was featured on The African American Radio Stations which led me to DJ's Like The Bruce, Jocko Henderson, Tommy Dr. Jive Smalls and eventually Symphony Sid Torin, China Valles and Len Pace. This all took place during my high school years and the following years in NYNY and South Florida. I actually flew to Copenhagen Denmark in 1961 to see Stan Getz, (One of my top 3 heroes in the Music Bird, Pres & Getz not necessarily in that order). Sadly Getz had already left town and snuck back into NYNY where he played Birdland (Undoubtedly without a cabaret card due to smack addiction.) No problem for me as I worked for Pan American Airways at the time and enjoyed a 90% Employee Discount.
I met Thelonious Monk, Stan Kenton, Warne Marsh, Lenny Tristano, Art Farmer, Benny Golson, Frank Foster, Dr. Lonnie Smith, among many others over the years.
The best show I ever attended was The Randall's Island Jazz Festival NYNY 1960. Monk & Edward Ellington Kennedy AKA Duke, starred among numerous others. I can not recall the entire Line Up but Monk brought along his Hat Collection which at the time contained I believe he told me 33 or 35 international Hats which he periodically changed often during his Solos. I have been unable to find that roster for that particular festival and since it was long ago I remember mostly Monk & Duke. Paul Gonsalvas played his legendary trademark twenty something chorus solo in between Diminuendo and Crescendo in Blue which was outstanding.
The first jazz record I bought was Firstly, my Bro George was / is a Marine and he sent home his wax collection of LP's from Camp Pendleton CA before deploying to Okinawa in 1956 I think. Bird, Getz, Mulligan & Baker, Erroll Garner, Blakey's Jazz Messengers, Jazz at Newport 1956 and many more. I fell in love with Bird, Getz and Jeru & Chet for openers. Pres to my mind takes the all time Tenor Award and Budo, Piano etc.! However I digress Getz Long Island Sound and every other Getz record that I could find that was 1957 by then and I snuck in to Birdland for the First of many times before I was 18 ( Legal drinking age back then) It wasn't until just after my 18th Birthday that I was carded much to the bouncers chagrin as he recognized me as having being an established customer by then.
My advice to new listeners: Listen to the Music and keep it in the forefront not the background. A Local Band Leader whose name escapes me once said to me Jerry you can make time for the chicks later the Music is in the now and is more important than chicks ever will be. He was correct!
Next see live performances and introduce yourself to the Players most of whom will be respectful. Some, however, are unapproachable such as when I saw Miles so many times but his obvious disdain for certain fans was evident and he always walked off the stage after soloing. (Eddie Jefferson sang words to So What that so indicated this)!